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papermoonloveslucy · 4 years

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OLD GOLD COMEDY THEATRE

“A GIRL, A GUY, AND A GOB” ~ February 11, 1945

The Old Gold Comedy Theatre (aka Harold Lloyd Comedy Theatre) was NBC Radio’s attempt to replicate the success of CBS’ Lux Radio Theatre. It debuted on October 29th, 1944. Silent film star and producer (and Lucille Ball’s mentor) Harold Lloyd introduced condensations of movie comedies. This film happened to be one of his own. NBC programmed the series Sunday nights at 10:30PM for east coast audiences. The series was cancelled on June 10th, 1945.

Lucille Ball had done the second episode of the series, starring in Ball of Fire on November 5, 1944. Ball took the role originated in the 1941 film by Barbara Stanwyck while Cary Grant reprised his role for radio.

A Girl, a Guy and a Gob is a 1941 RKO film produced by Harold Lloyd and starring Lucille Ball, George Murphy, and Edmond O'Brien. Ball and Murphy reprise their film roles for radio.

The film had previously been dramatized for radio on “The Screen Guild Radio Theatre” on October 9, 1944, also starring Ball and Murphy.

Synopsis ~ A shy, quiet executive for a shipping firm who finds himself with a dilemma: he's become smitten with his young temporary secretary but she's the girlfriend of his Navy buddy - and the buddy is scheduled to be discharged in only a few days.

Note: “Gob” is a slang word for a sailor. This term first showed up in regard to sailors around 1909 and may have come from the word gobble. Reportedly, some people thought that sailors gobbled their food. The term also may come from the word gob, which means to spit, something sailors also reportedly do often.

CAST

Lucille Ball as Dorothy (Dotty) Duncan aka ‘The Girl’

George Murphy as Claudius (Coffee) Cup aka ‘The Gob’ ~ was in four films with Lucille Ball between 1934 and 1941. In 1959, Murphy served as guest host of “The Westinghouse Desilu Playhouse” when Desi Arnaz took a role in his own anthology series. He was also a performer in “The Desilu Revue” aired in December 1959. As the host of “MGM Parade”, he interviewed Lucy and Desi in February 1956.

Will Wright as Pop Duncan ~ would appear with Lucille Ball in the 1949 film Miss Grant Takes Richmond, and played the locksmith in “The Handcuffs” (ILL S2;E4) in 1952, and the Bent Fork Sheriff in “Tennessee Bound” (ILL S4;E14) in 1955. The role was played on screen by George Cleveland.

EPISODE

The announcer introduces the evening’s play and its stars as well as the director, Harold Lloyd. Lloyd states that he has recruited the original stars of the film version. Murphy and Ball take the microphone. Lucille’s next film, MGM’s Without Love, is briefly mentioned. Llloyd sets the story,

Executive Stephen Herrick is taking his date to a piano concert at Carnegie Hall when he discovers people are already sitting in his usual box seats. It is Dotty (Lucille Ball) and Coffee Cup (Murphy). Lucy whacks Mr. Herrick in the head with her handbag when he threatens to call the manager. Coffee Cup admits that he did not exactly purchase the tickets legally and they decide to make a hasty departure.

COFFEE CUP: “For my money, Count Basie’s got it all over this guy Josie Iturbe.”

José Iturbi Báguena (1895-1980) was a Spanish conductor, pianist and harpsichordist. He appeared in several Hollywood films of the 1940s, playing himself in the 1943 musical Thousands Cheer, which also featured Lucille Ball. Lucille Ball mentions Iturbi again on an October 7, 1949 episode of her radio show “My Favorite Husband.” William James "Count" Basie (1904-84) was an American jazz pianist, organist, bandleader, and composer.

Next day, at Mr. Herrick’s office, his new secretary arrives - it is Dotty! Herrick threatens to throw her out if she won’t leave and Dotty quickly explains that she gave him the money for the tickets but he lost it on a horse. Herrick reluctantly agrees to hire her anyway.

Sailors Coffee Cup and Eddie meet Dotty for lunch. He begs Dotty to allow him to get a tattoo like Eddie. She is adamant - no tattoos. Eddie claims he can grow four inches right in front of them - with his heels flat on the ground. Mr. Herrick comes by and sees the growing crowd watching this. A bet is wagered if Eddie can truly do it. Dotty borrows five bucks from Mr. Herrick so that Coffee Cup can make the bet.

When Eddie succeeds, the assembled crowd soon turns into a mob and there is a fist fight and a broken store window. Mr. Herrick gets knocked out by a big lug, who in turn is knocked out by Dotty’s lethal purse.

END of ACT ONE

A live Old Gold Cigarette commercial touts that the tobacco blend includes apple honey, to prevent dryness.

Earlier in her career, Lucille Ball was a spokes model for Chesterfield Cigarettes. Later, she would be associated with Philip Morris when they agreed to sponsor “I Love Lucy.” Despite this, Lucille Ball herself remained a Chesterfield smoker for most of her life.

“And remember, when the gremlins gang up on you, why be irritated? Light up an Old Gold.”

ACT TWO Eddie and Coffee Cup have taken Herrick back to Dot’s busy brownstone to calm his nerves, giving him a sleeping powder. There he is watched over by Mr. and Mrs. Duncan, Dot’s parents. Her father is listening to “The Lone Stranger” on the radio while Mrs. Liebowitz (an upstairs neighbor) is about to have a baby!

“The Lone Stranger” is a comical reference to “The Lone Ranger.” The masked cowboy first appeared on radio in 1933 and proved to be a hit. It spawned a series of books and later an equally popular television show that ran from 1949 to 1957.

Coffee Cup comes by to check on Mr. Herrick, who is only concerned with finding his pants. Dotty comes in to help him find them. They are about to set the table for dinner - corned beef and cabbage - when Liebowitz number 9 comes in to the world. Mr. Herrick wins the baby weight pool. He agrees to go out on the town and celebrate with them.

A few days later, Dotty is late back from lunch, showing off her new engagement ring. She tells Mr. Herrick that Coffee Cup has a wrestling match that night. If he wins, the prize money will pay for their wedding. Mr. Herrick confesses that he hopes Coffee Cup loses.

At the wedding chapel, Eddie wonders why he asked Mr. Herrick to be their best man when he is obviously in love with Dotty. Mr. Higgenbottom, photographer, interrupts to get a photo, mistaking Mr. Herrick for the groom. The sailors need to get back to the ship, so Coffee Cup allows them to give Dotty a farewell kiss before the wedding. Mr. Herrick gets in line. Dotty suddenly feels awkward and runs out.

Coffee Cup follows her to talk privately. She has been crying. He wonders if she has feelings for Mr. Herrick. While she fixes her face, Coffee Cup steps out and tells Mr. Herrick he should go in and console her. Coffee Cup tells Eddie to inform Dot’s mother that he went to get cigarettes.

END of ACT TWO

Another live commercial for Old Gold Cigarettes. The announcer reminds listeners that the men in uniform get first consideration in the distribution of Old Gold Cigarettes.

ACT THREE

Harold Lloyd sets the scene. The bride and the best man are at the alter, but the groom is nowhere to be found. Mr. Herrick realizes what has happened and rushes out to follow Coffee Cup, who has driven away on motorcycle. Mr. Herrick yells at him from a taxi cab.

Suddenly, Coffee Cup crashes, but is unharmed. When Herrick threatens to bring him back to the alter, Coffee Club slugs him and tells the cabbie to take them back to the chapel. He writes a note on the unconscious Herrick’s shirt front and with a loud honk of the taxi horn, speeds away toward the ship yard. Dotty and the wedding party find Herrick on the street and she reads the note:

“Dot, this guy loves you and I know now you love him. It’s a good thing I found out before it was too late. See you next time I’m on leave. ~ Coffee Cup. PS: The wedding’s all paid for, why don’t you use it and you and him get married.”

At the shipyard, Eddie catches up with Coffee Cup, who reports that Dot did indeed marry Mr. Herrick. As they board the ship, they discuss plans for Coffee Cup’s new tattoo.

END OF EPISODE

Harold Llloyd, George Murphy, and Lucille Ball bid audiences goodnight. He reminds them to tune in next week for Jack Haley, Jimmy Gleason, and Eve Arden in The Milky Way.

The Announcer thanks RKO, producers of Experiment Perilous.

George Murphy appeared courtesy of MGM, producers of National Velvet.

#Lucille Ball #George Murphy #A Girl A Guy And A Gob #Radio #Old Gold Cigarettes #Harold Lloyd #RKO #The Lone Ranger #Thousands Cheer #Will Wright #1945

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classic-laugjhing-hollywood · 4 years

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Marie Dressler (born Leila Marie Koerber, November 9, 1868 – July 28, 1934) was a Canadian stage and screen actress, comedian, and early silent film and Depression-era film star. In 1914, she was in the first full-length film comedy. She won the Academy Award for Best Actress in 1931.

Leaving home at the age of 14, Dressler built a career on stage in traveling theatre troupes, where she learned to appreciate her talent in making people laugh. In 1892, she started a career on Broadway that lasted into the 1920s, performing comedic roles that allowed her to improvise to get laughs. From one of her successful Broadway roles, she played the titular role in the first full-length screen comedy, Tillie's Punctured Romance (1914), opposite Charlie Chaplin and Mabel Normand. She made several shorts, but mostly worked in New York City on stage. During World War I, along with other celebrities, she helped sell Liberty bonds. In 1919, she helped organize the first union for stage chorus players.

Her career declined in the 1920s, and Dressler was reduced to living on her savings while sharing an apartment with a friend. In 1927, she returned to films at the age of 59 and experienced a remarkable string of successes. For her performance in the comedy film Min and Bill (1930), Dressler won the Academy Award for Best Actress. She died of cancer in 1934.

Marie Dressler's original name was Leila Marie Koerber. She was born on November 9, 1868, Cobourg, Ontario. She was one of the two daughters of Anna (née Henderson), a musician, and Alexander Rudolph Koerber (b. April 13, 1826, Lindow, Neu-Ruppin, Germany – d. November 1914, Wimbledon, Surrey, England), a German-born former officer in the Crimean War. Leila's elder sister, Bonita Louise Koerber (b. January 1864, Ontario, Canada – d. September 18, 1939, Richmond, Surrey, England), later married playwright Richard Ganthony.

Her father was a music teacher in Cobourg and the organist at St. Peter's Anglican Church, where as a child Marie would sing and assist in operating the organ. According to Dressler, the family regularly moved from community to community during her childhood. It has been suggested by Cobourg historian Andrew Hewson that Dressler attended a private school, but this is doubtful if Dressler's recollections of the family's genteel poverty are accurate.

The Koerber family eventually moved to the United States, where Alexander Koerber is known to have worked as a piano teacher in the late 1870s and early 1880s in Bay City and Saginaw (both in Michigan) as well as Findlay, Ohio. Her first known acting appearance, when she was five, was as Cupid in a church theatrical performance in Lindsay, Ontario. Residents of the towns where the Koerbers lived recalled Dressler acting in many amateur productions, and Leila often irritated her parents with those performances.

Dressler left home at the age of 14 to begin her acting career with the Nevada Stock Company, telling the company she was actually 18. The pay was either $6 or $8 per week, and Dressler sent half to her mother. At this time, Dressler adopted the name of an aunt as her stage name. According to Dressler, her father objected to her using the name of Koerber. The identity of the aunt was never confirmed, although Dressler denied that she adopted the name from a store awning. Dressler's sister Bonita, five years older, left home at about the same time. Bonita also worked in the opera company. The Nevada Stock Company was a travelling company that played mostly in the American Midwest. Dressler described the troupe as a "wonderful school in many ways. Often a bill was changed on an hour's notice or less. Every member of the cast had to be a quick study". Dressler made her professional debut as a chorus girl named Cigarette in the play Under Two Flags, a dramatization of life in the Foreign Legion.

She remained with the troupe for three years, while her sister left to marry playwright Richard Ganthony. The company eventually ended up in a small Michigan town without money or a booking. Dressler joined the Robert Grau Opera Company, which toured the Midwest, and she received an improvement in pay to $8 per week, although she claimed she never received any wages.

Dressler ended up in Philadelphia, where she joined the Starr Opera Company as a member of the chorus. A highlight with the Starr company was portraying Katisha in The Mikado when the regular actress was unable to go on, due to a sprained ankle, according to Dressler. She was also known to have played the role of Princess Flametta in an 1887 production in Ann Arbor, Michigan. She left the Starr company to return home to her parents in Saginaw. According to her, when the Bennett and Moulton Opera Company came to town, she was chosen from the church choir by the company's manager and asked to join the company. Dressler remained with the company for three years, again on the road, playing roles of light opera.

She later particularly recalled specially the role of Barbara in The Black Hussars, which she especially liked, in which she would hit a baseball into the stands. Dressler remained with the company until 1891, gradually increasing in popularity. She moved to Chicago and was cast in productions of Little Robinson Crusoe and The Tar and the Tartar. After the touring production of The Tar and the Tartar came to a close, she moved to New York City.

In 1892, Dressler made her debut on Broadway at the Fifth Avenue Theatre in Waldemar, the Robber of the Rhine, which only lasted five weeks. She had hoped to become an operatic diva or tragedienne, but the writer of Waldemar, Maurice Barrymore, convinced her to accept that her best success was in comedy roles. Years later, she appeared in motion pictures with his sons, Lionel and John, and became good friends with his daughter, actress Ethel Barrymore. In 1893, she was cast as the Duchess in Princess Nicotine, where she met and befriended Lillian Russell.

Dressler now made $50 per week, with which she supported her parents. She moved on into roles in 1492 Up To Date, Girofle-Girofla, and A Stag Party, or A Hero in Spite of Himself After A Stag Party flopped, she joined the touring Camille D'Arville Company on a tour of the Midwest in Madeleine, or The Magic Kiss, as Mary Doodle, a role giving her a chance to clown.

In 1896, Dressler landed her first starring role as Flo in George Lederer's production of The Lady Slavey at the Casino Theatre on Broadway, co-starring British dancer Dan Daly. It was a great success, playing for two years at the Casino. Dressler became known for her hilarious facial expressions, seriocomic reactions, and double takes. With her large, strong body, she could improvise routines in which she would carry Daly, to the delight of the audience.

Dressler's success enabled her to purchase a home for her parents on Long Island. The Lady Slavey success turned sour when she quit the production while it toured in Colorado. The Erlanger syndicate blocked her from appearing on Broadway, and she chose to work with the Rich and Harris touring company. Dressler returned to Broadway in Hotel Topsy Turvy and The Man in the Moon.

She formed her own theatre troupe in 1900, which performed George V. Hobart's Miss Prinnt in cities of the northeastern U.S. The production was a failure, and Dressler was forced to declare bankruptcy.

In 1904, she signed a three-year, $50,000 contract with the Weber and Fields Music Hall management, performing lead roles in Higgeldy Piggeldy and Twiddle Twaddle. After her contract expired she performed vaudeville in New York, Boston, and other cities. Dressler was known for her full-figured body, and buxom contemporaries included her friends Lillian Russell, Fay Templeton, May Irwin and Trixie Friganza. Dressler herself was 5 feet 7 inches (1.70 m) tall and weighed 200 pounds (91 kg).

In 1907, she met James Henry "Jim" Dalton. The two moved to London, where Dressler performed at the Palace Theatre of Varieties for $1500 per week. After that, she planned to mount a show herself in the West End. In 1909, with members of the Weber organization, she staged a modified production of Higgeldy Piggeldy at the Aldwych Theatre, renaming the production Philopoena after her own role. It was a failure, closing after one week. She lost $40,000 on the production, a debt she eventually repaid in 1930. She and Dalton returned to New York. Dressler declared bankruptcy for a second time.

She returned to the Broadway stage in a show called The Boy and the Girl, but it lasted only a few weeks. She moved on to perform vaudeville at Young's Pier in Atlantic City for the summer. In addition to her stage work, Dressler recorded for Edison Records in 1909 and 1910. In the fall of 1909, she entered rehearsals for a new play, Tillie's Nightmare. The play toured in Albany, Chicago, Kansas City, and Philadelphia, and was a flop. Dressler helped to revise the show, without the authors' permission, and in order to keep the changes she had to threaten to quit before the play opened on Broadway. Her revisions helped make it a big success there. Biographer Betty Lee considers the play the high point of her stage career.

Dressler continued to work in the theater during the 1910s, and toured the United States during World War I, selling Liberty bonds and entertaining the American Expeditionary Forces. American infantrymen in France named both a street and a cow after Dressler. The cow was killed, leading to "Marie Dressler: Killed in Line of Duty" headlines, about which Dressler (paraphrasing Mark Twain) quipped, "I had a hard time convincing people that the report of my death had been greatly exaggerated."

After the war, Dressler returned to vaudeville in New York, and toured in Cleveland and Buffalo. She owned the rights to the play Tillie's Nightmare, the play upon which her 1914 movie Tillie's Punctured Romance was based. Her husband Jim Dalton and she made plans to self-finance a revival of the play. The play fizzled in the summer of 1920, and the production was disbanded. In 1919, during the Actors' Equity strike in New York City, the Chorus Equity Association was formed and voted Dressler its first president.

Dressler accepted a role in Cinderella on Broadway in October 1920, but the play failed after only a few weeks. She signed on for a role in The Passing Show of 1921, but left the cast after only a few weeks. She returned to the vaudeville stage with the Schubert Organization, traveling through the Midwest. Dalton traveled with her, although he was very ill from kidney failure. He stayed in Chicago while she traveled on to St. Louis and Milwaukee. He died while Marie was in St. Louis, and Marie then left the tour. His body was claimed by his ex-wife, and he was buried in the Dalton plot.

After failing to sell a film script, Dressler took an extended trip to Europe in the fall of 1922. On her return she found it difficult to find work, considering America to be "youth-mad" and "flapper-crazy". She busied herself with visits to veteran hospitals. To save money she moved into the Ritz Hotel, arranging for a small room at a discount. In 1923, Dressler received a small part in a revue at the Winter Garden Theatre, titled The Dancing Girl, but was not offered any work after the show closed. In 1925, she was able to perform as part of the cast of a vaudeville show which went on a five-week tour, but still could not find any work back in New York City. The following year, she made a final appearance on Broadway as part of an Old Timers' bill at the Palace Theatre.

Early in 1930, Dressler joined Edward Everett Horton's theater troupe in Los Angeles to play a princess in Ferenc Molnár's The Swan, but after one week, she quit the troupe. Later that year she played the princess-mother of Lillian Gish's character in the 1930 film adaptation of Molnar's play, titled One Romantic Night.

Dressler had appeared in two shorts as herself, but her first role in a feature film came in 1914 at the age of 44. In 1902, she had met fellow Canadian Mack Sennett and helped him get a job in the theater. After Sennett became the owner of his namesake motion picture studio, he convinced Dressler to star in his 1914 silent film Tillie's Punctured Romance. The film was to be the first full-length, six-reel motion picture comedy. According to Sennett, a prospective budget of $200,000 meant that he needed "a star whose name and face meant something to every possible theatre-goer in the United States and the British Empire."

The movie was based on Dressler's hit Tillie's Nightmare. She claimed to have cast Charlie Chaplin in the movie as her leading man, and was "proud to have had a part in giving him his first big chance." Instead of his recently invented Tramp character, Chaplin played a villainous rogue. Silent film comedian Mabel Normand also starred in the movie. Tillie's Punctured Romance was a hit with audiences, and Dressler appeared in two Tillie sequels and other comedies until 1918, when she returned to vaudeville.

In 1922, after her husband's death, Dressler and writers Helena Dayton and Louise Barrett tried to sell a script to the Hollywood studios, but were turned down. The one studio to hold a meeting with the group rejected the script, saying all the audiences wanted is "young love." The proposed co-star of Lionel Barrymore or George Arliss were rejected as "old fossils". In 1925, Dressler filmed a pair of two-reel short movies in Europe for producer Harry Reichenbach. The movies, titled the Travelaffs, were not released and were considered a failure by both Dressler and Reichenbach. Dressler announced her retirement from show business.

In early 1927, Dressler received a lifeline from director Allan Dwan. Although versions differ as to how Dressler and Dwan met, including that Dressler was contemplating suicide, Dwan offered her a part in a film he was planning to make in Florida. The film, The Joy Girl, an early color production, only provided a small part as her scenes were finished in two days, but Dressler returned to New York upbeat after her experience with the production.

Later that year, Frances Marion, a screenwriter for the Metro-Goldwyn-Mayer (MGM) studio, came to Dressler's rescue. Marion had seen Dressler in the 1925 vaudeville tour and witnessed Dressler at her professional low-point. Dressler had shown great kindness to Marion during the filming of Tillie Wakes Up in 1917, and in return, Marion used her influence with MGM's production chief Irving Thalberg to return Dressler to the screen. Her first MGM feature was The Callahans and the Murphys (1927), a rowdy silent comedy co-starring Dressler (as Ma Callahan) with another former Mack Sennett comedian, Polly Moran, written by Marion.

The film was initially a success, but the portrayal of Irish characters caused a protest in the Irish World newspaper, protests by the American Irish Vigilance Committee, and pickets outside the film's New York theatre. The film was first cut by MGM in an attempt to appease the Irish community, then eventually pulled from release after Cardinal Dougherty of the Archdiocese of Philadelphia called MGM president Nicholas Schenck. It was not shown again, and the negative and prints may have been destroyed. While the film brought Dressler to Hollywood, it did not re-establish her career. Her next appearance was a minor part in the First National film Breakfast at Sunrise. She appeared again with Moran in Bringing Up Father, another film written by Marion. Dressler returned to MGM in 1928's The Patsy as the mother of the characters played by stars Marion Davies and Jane Winton.

Hollywood was converting from silent films, but "talkies" presented no problems for Dressler, whose rumbling voice could handle both sympathetic scenes and snappy comebacks (the wisecracking stage actress in Chasing Rainbows and the dubious matron in Rudy Vallée's Vagabond Lover). Frances Marion persuaded Thalberg to give Dressler the role of Marthy in the 1930 film Anna Christie. Garbo and the critics were impressed by Dressler's acting ability, and so was MGM, which quickly signed her to a $500-per-week contract. Dressler went on to act in comedic films which were popular with movie-goers and a lucrative investment for MGM. She became Hollywood's number-one box-office attraction, and stayed on top until her death in 1934.

She also took on serious roles. For Min and Bill, with Wallace Beery, she won the 1930–31 Academy Award for Best Actress (the eligibility years were staggered at that time). She was nominated again for Best Actress for her 1932 starring role in Emma, but lost to Helen Hayes. Dressler followed these successes with more hits in 1933, including the comedy Dinner at Eight, in which she played an aging but vivacious former stage actress. Dressler had a memorable bit with Jean Harlow in the film:

Harlow: I was reading a book the other day.

Dressler: Reading a book?

Harlow: Yes, it's all about civilization or something. A nutty kind of a book. Do you know that the guy said that machinery is going to take the place of every profession?

Dressler: Oh my dear, that's something you need never worry about.

Following the release of Tugboat Annie (1933), Dressler appeared on the cover of Time, in its issue dated August 7, 1933. MGM held a huge birthday party for Dressler in 1933, broadcast live via radio. Her newly regenerated career came to an abrupt end when she was diagnosed with terminal cancer in 1934. MGM head Louis B. Mayer learned of Dressler's illness from her doctor and reportedly asked that she not be told. To keep her home, he ordered her not to travel on her vacation because he wanted to put her in a new film. Dressler was furious but complied. She appeared in more than 40 films, and achieved her greatest successes in talking pictures made during the last years of her life. The first of her two autobiographies, The Life Story of an Ugly Duckling, was published in 1924; a second book, My Own Story, "as told to Mildred Harrington," appeared a few months after her death.

Dressler's first marriage was to an American, George Francis Hoeppert (1862 – September 7, 1929), a theatrical manager. His surname is sometimes given as Hopper. The couple married on May 6, 1894, in Grace Church Rectory, Greenville, New Jersey, as biographer Matthew Kennedy wrote, under her birth name, Leila Marie Koeber,. Some sources indicate Dressler had a daughter who died as a small child, but this has not been confirmed.

Her marriage to Hoeppert gave Dressler U.S. citizenship, which was useful later in life, when immigration rules meant permits were needed to work in the United States, and Dressler had to appear before an immigration hearing. Ever since her start in the theatre, Dressler had sent a portion of her salary to her parents. Her success on Broadway meant she could afford to buy a home and later a farm on Long Island, which she shared with her parents. Dressler made several attempts to set up theatre companies or theatre productions of her own using her Broadway proceeds, but these failed and she had to declare bankruptcy several times.

In 1907, Dressler met a Maine businessman, James Henry "Jim" Dalton, who became her companion until his death [Death Record 3104-27934] on November 29, 1921, at the Congress Hotel in Chicago from diabetes. According to Dalton, the two were married in Europe in 1908. However, according to Dressler's U.S. passport application, the couple married in May 1904 in Italy.

Dressler reportedly later learned that the "minister" who had married them in Monte Carlo was actually a local man paid by Dalton to stage a fake wedding. Dalton's first wife, Lizzie Augusta Britt Dalton, claimed he had not consented to a divorce or been served divorce papers, although Dalton claimed to have divorced her in 1905. By 1921, Dalton had become an invalid due to diabetes mellitus, and watched her from the wings in his wheelchair. After his death that year, Dressler was planning for Dalton to be buried as her husband, but Lizzie Dalton had Dalton's body returned to be buried in the Dalton family plot.

After Dalton's death, which coincided with a decline in her stage career, Dressler moved into a servant's room in the Ritz Hotel to save money. Eventually, she moved in with friend Nella Webb to save on expenses. After finding work in film again in 1927, she rented a home in Hollywood on Hillside Avenue. Although Dressler was working from 1927 on, she was still reportedly living hand to mouth. In November 1928, wealthy friends Mr. and Mrs. Arthur Neurmberg gave her $10,000, explaining they planned to give her a legacy someday, but they thought she needed the money immediately. In 1929, she moved to Los Angeles to 6718 Milner Road in Whitley Heights, then to 623 North Bedford Drive in Beverly Hills, both rentals. She moved to her final home at 801 North Alpine in Beverly Hills in 1932, a home which she bought from the estate of King C. Gillette. During her seven years in Hollywood, Dressler lived with her maid Mamie Cox and later Mamie's husband Jerry.

Although atypical in size for a Hollywood star, Dressler was reported in 1931 to use the services of a "body sculptor to the stars", Sylvia of Hollywood, to keep herself at a steady weight.

Biographers Betty Lee and Matthew Kennedy document Dressler's long-standing friendship with actress Claire Du Brey, whom she met in 1928. Dressler and Du Brey's falling out in 1931 was followed by a later lawsuit by Du Brey, who had been trained as a nurse, claiming back wages as the elder woman's nurse.

On Saturday, July 28, 1934, Dressler died of cancer, aged 65, in Santa Barbara, California. After a private funeral held at The Wee Kirk o' the Heather chapel, she was interred in a crypt in the Great Mausoleum in the Forest Lawn Memorial Park, Glendale, California.

She left an estate worth $310,000, the bulk left to her sister Bonita.

Dressler bestowed her 1933 Duesenberg Model J automobile and $35,000 to her maid of 20 years, Mamie Steele Cox, and $15,000 to Cox's husband, Jerry R. Cox, who had served as Dressler's butler for four years. Dressler intended that the funds should be used to provide a place of comfort for black travelers, and the Coxes used the funds to open the Coconut Grove night club and adjacent tourist cabins in Savannah, Georgia, in 1936, named after the night club in Los Angeles.

Dressler's birth home in Cobourg, Ontario, is known as Marie Dressler House and is open to the public. The home was converted to a restaurant in 1937 and operated as a restaurant until 1989, when it was damaged by fire. It was restored, but did not open again as a restaurant. It was the office of the Cobourg Chamber of Commerce until its conversion to its current use as a museum about Dressler and as a visitor information office for Cobourg.[66] Each year, the Marie Dressler Foundation Vintage Film Festival is held, with screenings in Cobourg and in Port Hope, Ontario. A play about the life of Marie Dressler called "Queen Marie" was written by Shirley Barrie and produced at 4th Line Theatre in 2012 and Alumnae Theatre in 2018.

For her contribution to the motion picture industry, Dressler has a star on the Hollywood Walk of Fame at 1731 Vine Street, added in 1960. After Min and Bill, Dressler and Beery added their footprints to the cement forecourt of Grauman's Chinese Theatre in Hollywood, with the inscription "America's New Sweethearts, Min and Bill."

Canada Post, as part of its "Canada in Hollywood" series, issued a postage stamp on June 30, 2008, to honour Marie Dressler.

Dressler is beloved in Seattle. She played in two films based on historical Seattle characters. Tugboat Annie (1933) was loosely based on Thea Foss, of Seattle. Likewise Hattie Burns, in Politics (1931), was based on Bertha Knight Landes, the first woman to become mayor of Seattle.

Dressler's 152nd birthday was commemorated in a Google Doodle on November 9, 2020.

#marie dressler #classic hollywood #classic movie stars #golden age of hollywood #early film #silent era #silent hollywood #silent movie stars #1910s movies #1920s hollywood #1930s hollywood #comedy legend #hollywood legends

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handeaux · 4 years

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Cincinnati’s Violet Honeymooners And Their Scarlet Divorce

The 1903 wedding of Augustine “Gussie” Ogden and Ernest Drewitz was unusual to begin with. It was a private affair, performed by a minister who signed the marriage certificate with a name – A.M. Hawnot – that appears on no other documents, anywhere, ever.

The honeymoon fascinated the public. Mrs. Ogden was a rich and handsome widow, among the wealthiest women in Cincinnati, conservatively worth $400,000 inherited from her departed first husband. She celebrated her second marriage by hiring a private railway car for the trip to Florida. According to the Cincinnati Enquirer [2 July 1909]:

“The car was lavishly furnished and was ornamented throughout with violets, the couple becoming known as the ‘Violet Honeymooners,’ and their car as the ‘Violet Car.’”

Gossips chattered not only because of the provocative and decadent décor, but because of the couple’s precipitous courtship. The marriage was solemnized barely six weeks after Mrs. Ogden had been introduced to Mr. Drewitz.

They met in a Fourth Street music store where Mr. Drewitz was employed selling player pianos. Born in Germany, he arrived in the United States as an ordained Lutheran pastor, assigned to a small congregation in Wisconsin. He was called to Washington, D.C. on a prestigious assignment as pastor of the Lutheran Church of the German Embassy. In this role, he and his wife became friends with President Grover Cleveland and the First Lady. Drewitz’s wife died and he resigned his post at the embassy to lead a congregation in Newport, Kentucky. That congregation disbanded and he found himself in the music business.

Mrs. Ogden was born in Alsace-Lorraine as Augustine Debeneth. Her family came to Cincinnati in 1876, when she was 13 years old. Her father died soon after and Augustine and her sisters took in sewing and taught French to make ends meet. When Augustine was 17 years old, she was introduced to wealthy real-estate magnate Frank Ogden at Lewis Graeser’s dancing school. Mr. Ogden invested wisely and owned some very lucrative addresses. Augustine and Frank married in 1889 and had a brief but happy marriage before Frank died in 1901. In her grief, Mrs. Ogden donated a stained glass window to the Mercantile Library in Frank’s memory. (That window, and a companion, have disappeared under mysterious circumstances.)

Mr. Drewitz was around 50 years old and Mrs. Ogden was 40 when wedding bells rang for the second time. According to repeated testimony, bliss drained out of the marriage even before they returned from their violet Florida honeymoon. The issue was money, although Mr. Drewitz kept trying to introduce saucier grounds. Among his complaints, Gussie continued to introduce herself as Mrs. Ogden instead of Mrs. Drewitz.

Although he testified repeatedly that he had no idea his fiancée had any money, it was revealed that Drewitz had signed a pre-nuptial agreement prohibiting any claim on his wife’s estate and he attempted to have that pre-nup voided. He continually begged for money, raging around the house banging on the furniture and throwing things when she refused. She filed for divorce just before their second anniversary. They patched things up and she withdrew her suit, only to refile it a few months later. Another reconciliation quashed the second suit and the Drewitzes endured a truce for four years by living apart.

Without any hint of irony, Mrs. Ogden bought Mr. Drewitz a farm in Loveland. He remained there all week, visiting her Richmond Street mansion only on weekends, under cover of night to, as he testified, “maintain their marital relations.” His appeals for money continued. He wanted to import goats from Switzerland. One day, Mr. Drewitz went too far. According to the Cincinnati Post [7 April 1909]:

“She advanced him money for a farm, she says, which he bought in his own name, and instead of securing the loans made by her he gave a mortgage on it and she was compelled to pay the notes when they fell due.”

Mrs. Ogden filed for divorce a third time in 1909. Mr. Drewitz countersued and fabricated enough salacious charges to keep Cincinnati’s chinwags busy for months.

Apparently on the basis of a single book on Indian occultism in her library, Drewitz charged that Mrs. Ogden was a devotee of a Chicago mystic named Lauron William De Laurence and was in thrall to him while studying the mystic arts.

It came out in court that Drewitz had spent years paying spies and snitches in an attempt to build a case that Mrs. Ogden was a working prostitute at the time she married Frank Ogden. There may be something to that. It is known that Frank Ogden paid Gussie’s rent for 10 years prior to their marriage. Drewitz offered a reward for nude photographs of her, though none were ever found.

Mr. Drewitz claimed that Mrs. Ogden would leave town without notice and never gave him a key to her house, so that he had to hurry home before 10:00 p.m. when the servants locked up, or be barred from his own residence.

He claimed that she objected to his friends calling on the telephone because the telephone belonged to the Ogden estate and was not a Drewitz instrument.

Despite airing all the dirty laundry, Judge John A. Caldwell refused to grant a divorce, ruling:

“The contracting parties to this controversy were not young and inexperienced people, who might not realize the sacredness of the obligation they had entered into. They were both mature and had experience, and were of sound mind and understanding.”

Undeterred, Mrs. Ogden filed suit again a year later and was granted a divorce by Judge Almon M. Warner, who denied Drewitz’s request for alimony, calling his slanderous attacks on Mrs. Ogden despicable.

As for the victorious Mrs. Ogden, she spent the remainder of her life supporting feminist causes, encouraging women to vote and run for office, and lobbying for streamlined divorce laws. She wrote a couple of novels and produced a couple of silent movies that, based on the reviews, are mercifully forgotten these days. She died in 1945.

Mr. Drewitz moved to Chicago and got into real estate sales. He died in 1936.

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theloniousbach · 5 years

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50 YEARS OF GOING TO SHOWS, Pt. 6: BECOMING A JAZZ FAN IN KANSAS CITY

As I often do, let me start this reminiscence with a guitar player or three. My brief here is to recall the formative jazz experiences that have been part of being in the thrall of live music just as often as I can.

So, even though this is jazz and the piano is the most versatile and enthralling instrument at the center of the music for me, I do come to this iteration of musical virtuosity, intelligence, and intricacy from '60s rock--blues and psychedlia. Fusion, jazz-rock was created for the likes of me and Miles's "Bitches Brew" with John McLaughlin was the first jazz album of my teen years. So we start with seeing the Mahavishnu Orchestra at the University of Kansas. I remember being in the balcony and so leaning forward physically while metaphorically being blown back into my seat. They were loud, both actually and filling every aural space with rapid fire notes in intricate array, mostly from McLaughlin's still just a single neck guitar but also Jerry Goodman and Jan Hammer. But it was equally Billy Cobham's drums that just pulsed in astoundingly complex rhythms. Later when I got to know Balkan music, I wondered if those rhythms were head trips, intellectual exercises, or tied to Eastern European dance rhythms (Hammer is Czech, after all). Pure invention. It was amazing.

In the same hall, I saw the beloved Jerry Hahn, with Brotherhood brothers, but playing a straight ahead jazz show. He warmed up for this just emerging band with some local appeal, Kansas. They too were loud and already pretentious. We left wrapped in our own pretension of jazz snobbery.

One last guitarist, Pat Matheny, a local hero just a year older than us. The drummer in Fast Eddie and the Juicers, the garage/basement band I hung out with with some very good friends, had played in a middle school jazz band with him. He was 16, maybe 17, when he played numerous sets at the all day Kansas City Jazz Festival in Municipal Auditorium. It was a mostly Buddy Rich, Clark Terry, Marilyn Maye (who was then just the jazz singer in town), Gene Harris and the Three Sounds kind of show. But Matheny played his own set in late afternoon and then kept being asked to sit in. He later did two or three Xmas season shows often at UMKC (my alma mater, my Dad's employer) with his original quartet with Lyle Mays with "Phase Dance" to open and "San Lorenzo" to close gloriously.

But, particularly now, I don't seek jazz guitar and appreciate more than enjoy such luminaries as John Scofield (though I have seen him with Joe Lovano and also in Jack DeJohnette's Hudson and do like to see him in rockish setting with Phil Lesh and Warren Haynes) and Bill Friesell. No, it's the piano, best with just bass and drums, that defines the music for me.

I had a singular formative experience--seeing Oscar Peterson with Ray Brown and Ed Thigpen open ($#%Q%#) for the New Christy Minstrels at UMKC in about 1964. I was 8 or 9 and felt at home where Dad worked, so I just was drawn into the music and sat on stage behind the speaker column. They were playing selections from the "Canadiana Suite," so that was an album I got my parents to buy for "us." But they were magical, so fluid and telepathic and powerful. I treasure the drum sticks Ed Thigpen gave me. I got to see him here at a conference on Miles Davis with Sam in tow when he was about the age I was then and told him how meaningful that was.

I saw Count Basie (and possibly Duke Ellington) at a free concert but that made little impression except that Basie was bluesy and from Kansas City. I saw him, once again in Lawrence, probably in that same auditorium, in the 1970s. By then I had absorbed the Basie aesthetic. Even if big bands were more than a little corny, this one swung hard, Basie was eloquently powerful with his little right hand lines, Freddie Green was unflappable, and the horns played the charts well with Jimmy Forrest being the tenor star.

Since I've already talked about Herbie Hancock with both his Mwandishi band and the Headhunters as well as Chick Core with Return to Forever and even Weather Report, I will proceed into a remarkable series of largely free jazz in the park concerts, mostly in Kanas City.

A glorious exception was seeing Charles Mingus with the Changes line up (George Adams, Don Pulled, Dannie Richmond, not necessarily but possibly Jack Waltrath) in Bryant Park, for a noon time set while we were in New York City. That same band did a concert in the park in Kansas City. I remember no juicy details--particular tunes from the deep Mingus canon, only Mingus in black fully unprepared to suffer fools.

The Kansas City Parks had a great series with Gary Burton a couple of times (I was also a hanger on at a master class on vibraphone at a music store the next afternoon and saw something about how to use two mallets in each hand) and San Getz with Richie Beirach, maybe George Mraz. It might have been that I saw Mraz with Roland Hanna and homeowner Richie Pratt on drums in another open air setting. I was probably just another punter in the crowd; I think anymore I would be annoyed at people there for atmosphere and the party.

I saw the Modern Jazz Quartet with the Kansas City Symphony with the orchestra contributing to some suite, almost certainly John Lewis's, before a few tunes by the MJQ itself. I was bouncing in my seat a bit too enthusiastically for the regular Symphony goers around me. Sigh.

Dizzy Gillespie played KC a couple of times. I saw him out of reverence but wished I could have brought more to the table, more lore. He wasn't Miles but he was playing probably with James Moody and solid jazz guys on Rhodes and electric bass. I should have gotten more out of that experience than to say, yeah, I saw Dizzy's cheeks and schtick (certainly a subtle Latin rhythm). I lived in Chicago and had a friend with great jazz ears. He introduced me to Arthur Blythe and some South African players among many others. I was part of a gang that went a couple of times to the Jazz Showcase, including once to the original near North Side location, once to the one in a Loop hotel, to see Dexter Gordon in the post-Homecoming days. Again I wish I could savor more details than the impression of his tall elegance, liquid lines, and deep deep repertoire. That's as much a reconstruction from the albums and the legend but, details aside, I have a strong image of Dexter Gordon and he was the most formidable tenor player I ever saw. Now, I did see Sonny Rollins in his late 70s and that was remarkable (more in a follow up to this on my jazz revival) but Gordon was in significant command of his craft then and was doing vital music.

Finally, the Chicago Jazz Festival was a relatively new thing when I was there in the late 1970s/early 1980s. I'm sure I saw as much as I could. My sole memory--and it is a grand one--is sticking out a rain shower to see Jack DeJohnette's Special Edition to play to a too small crowd, including the absolutely stunning "Pastel Rhapsody" with DeJohnette starting on piano. It's a glorious tune and DeJohnette's piano is both strong and revelatory. I learned so much about him as a drummer from that tune.

My rediscovery of jazz over the past four years or so is based on this foundation. It is also been the basis of so much of this ongoing writing exercise.

These are powerful memories.

#2019 #jazz #mahavishnu orchestra #dexter gordon #dizzy gillespie #charles mingus #pat matheny #count basie #oscar peterson

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scottcallen · 5 years

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Many of you know that I collect records. Last month, I was at a local record store and found two records by Floyd Cramer in perfect condition for one dollar each. Cramer is one of my grandmother’s favorite musicians. She listens to a CD of his music nightly before bed. Naturally, I simply had to buy these. Cramer, a piano player, was predominantly a studio musician in Nashville and quite in-demand, but he also released records under his own name. He played on several hit records for Elvis Presley, Patsy Cline, Brenda Lee, Roy Orbison, the Everly Brothers, and many more. He recorded frequently at RCA STudio B and was instrumental in the Nashville sound. In 1960, he released this album and the single for the hit instrumental, “Last Date,” went to number two. The song was only held out of the top spot on the Billboard top 100 pop chart by another song he played piano on - “Are You Lonesome Tonight?” by Elvis Presley. He’s a member of both the Country Music and Rock and Roll Hall of Fame. I brought the records back to my grandmother and just as I knew she would be, she was excited! But, when I went to play them on her inexpensive, vintage Emerson player, the turntable would not spin. I diagnosed and found it needed a belt. Then, she told me there were issues with the cassette players, I decided to have it repaired at Alpha Tech in Richmond Heights, MO. The shop is only open 8-5, Monday through Friday, so I took the player there during my lunch break. While it was gone my mom said she talked about playing the records every day to her. She had even gone through her other records she had while she waited. After a week or so the player was ready, and I picked it up and returned it to her on Sunday. I hooked up the speakers and we played the Floyd Cramer records. They sounded great! The excitement was palatable and I enjoyed seeing her smile. She had her record player back and I had another memory to cherish with her. #recordcollector #family #floydcramer #grandmother #music #recordplayer https://www.instagram.com/p/BwDece7jMnV2X7mAVbmdQjKFI6UsywOnUQSHko0/?utm_source=ig_tumblr_share&igshid=q3q9aowkp4xn

#recordcollector #family #floydcramer #grandmother #music #recordplayer

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jasonfry · 6 years

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Let the World Surprise You

I didn’t have high expectations about Richmond, Indiana.

I was there to visit a college library that specializes in Quaker records and research. I was looking forward to that part: librarians are heroes, and these folks turned out to be kind, patient and generous. I was also using Richmond as a home base for forays into graveyards and historical societies in hopes of finding out more about my Quaker ancestors, who came to Indiana via Ohio and North Carolina in the 1830s. That was fun, as it always is -- genealogy really comes to life when you can read something written in an ancestor’s own hand, or see the places your forebears held dear.

As for the rest of Richmond, well, it didn’t strike me as much at first or second glance, particularly not from the cheap motel I’d chosen by the highway. On the way into town, I’d spotted a claim to Richmond’s being “the cradle of recorded jazz,” and wondered if that was particularly bold marketing or dry prairie irony. I wasn’t sure, but dismissed it as a roadside oddity.

After I got settled I went to dinner at a BBQ place that looked decent enough online, though I’d never identified “Indiana barbeque” as a culinary gap needing to be filled. The restaurant was downtown, in a cluster of blocks that had some interesting-looking stores, though most of them were closed. The weird thing? There was a certain smell hanging over everything, which my brain finally recognized as ... dog food. I looked around and saw the building hulking over the downtown was a Purina plant. Mystery solved!

"Dog-food smell” isn’t the ideal accompaniment for a downtown revival, but I told myself not to be an asshole about it. Industries have to be located somewhere, folks need jobs, and pets have to eat. So I shrugged and walked into the BBQ place, which is where I started paying attention.

The BBQ wasn’t bad, but what caught my eye were the quotes on the restaurant walls: John Fogerty, Keith Richards and other rock luminaries were discussing the likes of Charley Patton and Big Bill Broonzy, and the accompanying photographs referred to those blues legends as having recorded in Richmond.

Really? Why?

I started Googling, which is how I found out about Gennett Records, an offshoot of the local Starr Piano Company. After experimenting with early recording technology in the late 1910s, Gennett set up a studio in Richmond on the grounds of Starr’s piano factory, nestled alongside the Whitewater River.

Conditions were crude: Gennett’s wax-carbon recording masters were cut not with electricity but with an acoustic-powered recording lathe, a turntable powered by a heavy, suspended weight. And because wax was being used, the studio had to be warm -- at least 85 degrees, in fact. Performers stood in front of a large horn, positioned according to how loud they were.

But this was the dawn of recorded music -- conditions were crude everywhere. And in the 1920s and 1930s, an eye-popping succession of blues, jazz and popular-music legends came through Richmond to record at Gennett.

Louis Armstrong. Bix Beiderbecke. Duke Ellington. Gene Autry. Fats Waller. Artie Shaw. Lawrence Welk. Charley Patton. Big Bill Broonzy. Sidney Bechet. All of them produced singles in Richmond that are essential documents of the earliest days in recorded popular music, and heralds of the revolution that was coming.

That revolution didn’t come from Richmond: Gennett was upended by the Depression, shellac rationing in World War II, and changes in fashion and competition. But still, look at that roster of names again. To have recorded them means serious bragging rights, which some decidedly precious parts of my native Brooklyn can’t match.

With my BBQ finished and my eyes opened, I decided to see what was left of Gennett. A smokestack and the shell of one building from the Starr complex have been preserved, and now sit at the beginning of a walk of fame that tracing the old railroad tracks. It features Gennett’s biggest acts -- honored with charming mosaics that incorporate replicas of Gennett 78s.

I had the place to myself, which was fun for me but a shame -- Richmond’s claim to be “the cradle of recorded jazz” is legit, and the sleepy remnants of the Starr complex ought to be a destination for 78 fanatics and fans of primeval jazz and blues.

I left Richmond glad that I’d come -- and that my reflexive curiosity had saved me from my own (equally reflexive) blithe ignorance. So here’s to Richmond, Indiana -- and here’s a reminder that life will surprise you ... if you let it.

(More about the Starr-Gennett Foundation here.)

#travel #music

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aboutminneapoliscbku640 · 4 years

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3 Reasons Your History of Minneapolis Is Broken (And How to Fix It)

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choices like coal-fired pizza at Ne'er-do-well, fresh sushi at PinKU,.

neighborhood craft beer from Rock Arc or a Tattersall craft alcoholic drink from the.

Cocktail Space at 18th & & Central.

Hing on the financial institutions of the historical Mississippi Riverfront as well as built.

into the ruins of what was as soon as the globe's largest flour mill, called.

the Washburn "" A"" Mill, Mill City Gallery is a small, intimate museum that.

presents birth and growth of Minneapolis as well as the subsequent background of.

the growing city with the flour sector as well as the river.

For foodies (and those with food allergies) Bryant Lake Dish provides.

locally sourced grub and a gluten-free food selection. Trying to find a task.

before playing a game? The connected movie theater to Bryant Lake additionally hosts.

everything from plays, neighborhood artists, as well as also a weekly worship.

Minneapolis-st. Paul Location.

First Opportunity is a genuine symbol of Minneapolis. When the midtown.

Minneapolis Greyhound bus depot, the building was redesigned in 1970 right into.

a live music place by tearing everything out, adding a phase, an audio.

system, as well as repainting the entire area black. The location has genuine.

songs cred— — Prince carried out right here in the early days of his profession.

Points To Do In Minneapolis.

The Double Cities' online reputation as a hub for arts is reflected throughout.

MSP. Several mosaics embellish both routs, the flight terminal hosts an.

annual staff member art show and competition, as well as a trio of Snoopy statuaries makes.

for an enjoyable scavenger hunt.

Resting and also delighting in a fancy mixed drink is good—— learning exactly how to make that.

expensive mixed drink in the house is also better. The professionals behind the bar at the.

Norseman Distillery reveal their tricks of the profession throughout classes at.

their Alcoholic drink Lab every month. The sessions come with hands-on.

guidelines, recipe cards, and 3 tastings.

The aquarium flaunts a 1,500 gallon Pacific Northwest Rockpool where.

site visitors can explore unusual sea animals such as cucumbers and sea.

polyps by touch, in addition to a 300-foot glass underwater tunnel for.

remarkable sights of sharks.

Minneapolis Minnesota.

Originally run by General Mills, the mill took off and ignited.

several times throughout its functioning life. As soon as abandoned, an almost.

tragic fire damaged much of the mill. The Minnesota Historic.

Facility finally organized the remains, which were maintained as well as a.

gallery was constructed inside the ruins. The gallery is among the best places.

to discover the history of Minneapolis.

Annual Events In Minneapolis.

From hip children to wealthy experts, the great stores in Uptown.

Minneapolis hosts the facilities they like to regular. Trendy bars,.

dining establishments, and stylish shops are collected around the intersection of.

Hennepin Method and Lake Street, the heart of Uptown Minneapolis. If.

people-watching is the goal, grab a seat at one of the neighborhood coffee.

shops and also take pleasure in the parade of fashionistas passing by. The location is a.

number of blocks from Lake Calhoun, where the the upper class most likely to.

sunbathe in the summer, as well as run or rollerblade around the lake.

Attractions & & Activities.

Weekend break journeys, what is a fantastic excursion location: Things to Do in.

Mauritius, Ukraine, Hong Kong, Myrtle Beach Day Trips, NY with Kids,.

Nevada with Children, Oklahoma with Kids, Day Trips from Omaha, Marquett,.

Greenbelt, Grantsville, Malvern, Hot Springs, Middletown.

Famous People From Minneapolis.

The Minneapolis Institute of Arts is the major art gallery in.

Minneapolis, with items spanning several millennia from all over the.

world. Functions from classical times with modern art fill this huge space,.

where it's very easy to obtain lost for a whole day. The gallery has a selection.

of unique programs, ranging from attracting courses for children to a.

once a week alcoholic drink as well as art night each Thursday.

St Paul Minnesota.

Izzy's Ice Cream is an ice cream organization, with stores in Minneapolis.

as well as St. Paul. Had and handled by Lara as well as Jeff Sommers, what started as.

a tiny kitchen area serving handmade gelatos has turned into the city's.

favored ice lotion place.

10 Reasons

0 notes

aboutminneapolislskq978 · 4 years

Text

Does Your Famous People From Minneapolis Pass The Test? 7 Things You Can Improve On Today

Minneapolis Minnesota

Outside attractions in Minnesota include Minnehaha Falls, a lovely

environment-friendly room situated in the heart of Minneapolis. The drops are just one of

the main Minnesota tourist attractions when checking out the Double Cities. The

stretching property affords site visitors outstanding hill biking tests,

treking tracks, outing locations as well as many other activities.

Regarding Minneapolis

Revealed block, hardwood floorings, gas fire place, 3 panel doors, all-natural

woodwork, great kitchen area granite counter tops as well as stainless steel

home appliances, in an open format with a center island, upper degree washing,

a new high performance heating system just set up.

Famous Individuals From Minneapolis

Every big city requires an area where citizens and also visitors can kick back

as well as loosen up far from the chaotic speed of the city. Lake Calhoun in

Minneapolis is just the area to go when you want to kick back. Lease

paddle watercrafts, swim, canoe, fish or just rest by the coasts as well as enjoy some

excellent people-watching!

The home itself has actually been lovingly looked after by the current ownersand

boasts a practical floor strategy with lots of natural light, big open

concept kitchen area with stainless steel appliances, breakfast buffet, & & a. great space with a wood-burning fire place.

Lakes and also storage tanks: Birch Pond (A), Powderhorn Lake (B), Lake Nokomis.

( C), Mommy Lake (D), Lake of the Isles (E), Lake Hiawatha (F), Lake.

Harriet (G), Ruby Lake (H). Display/hide their places on the map.

If you live in Midtown, navigating in wintertime is never a trouble.

many thanks to the skyway system. Linking on the 2nd floorings of all.

significant midtown office as well as home structures, the skyway system is an.

cutting-edge corridor network enabling you to stroll for miles without ever before.

going outside.

Minneapolis, Mn.

The arts scene in Minneapolis is excellent and considerable. One of the.

city's insurance claims to popularity is that it has even more theater seats per capita than.

any kind of city beyond New york city, and the performing arts community in.

certain is as energetic and diverse as they come. Epic places like.

the Guthrie Theater and the First Avenue Nightclub are only the idea of.

the iceberg when it involves live songs, and also the city's gigantic network.

of museums (consisting of sites like the Pedestrian Art Facility and.

Minneapolis Institute of Art) is amongst the most effective in the United States.

This Minnesota attractions one of the most enjoyable leading educational.

facilities to go to in the state. With exhibitions such as The World of.

Sharks in 3D, and also lots of blended media shows covering subjects like biology.

and anthropology, the Scientific research Gallery of Minnesota is a fascinating place.

to check out.

Tourist tourist attractions: Expense & & Bonnie Daniels Firefighters Hall & & Gallery

.( 664 22nd Opportunity Northeast) (1 ), Golden Wings Museum (8891 Flight Terminal Roadway.

Northeast Collection 6C) (2 ), Minneapolis Institute of Arts (Galleries; 2400.

3rd Opportunity South) (3 ), Holy Land Exhibition (Museums; 434 Ridgewood Method).

( 4 ), Hennepin History Gallery (2303 third Avenue South) (5 ), Center for.

Early Understanding & & Living of the Sciences (Galleries; 4139 Minister Opportunity.

North) (6 ), Aminah Hair Sytlist (Galleries; 7500 69th Avenue North) (7 ),.

Fridley Historical Culture Gallery (611 Mississippi Street Northeast).

( 8 ), American Wings Air Gallery (2141 Rhode Island Method) (9 ).

Display/hide their approximate areas on the map.

Points To Do In Minneapolis.

Look into the Budweiser Roofing system Deck prior to heading pull back to the.

playing area. The tour will take you through the background of the Twins.

group, highlighting past as well as present players, exceptional display screens of.

baseball souvenirs, and unique environmental functions of the having fun.

area.

The exhibition aims to create vital thinking skills with forensic.

examination, clinical inquiry, and also modern technology, by offering a.

multi-sensory experience where visitors can explore the globe of.

criminal activity scene investigation.

St Paul Minnesota.

Complementing the home-away-from-home atmosphere is a food selection loaded with.

superb mixtures from mouthwatering lamb scottadito to pillowy.

pan-fried gnocchi smothered in brittle Parmigiano Reggiano. Open till 1.

a.m. on weekends, the location is constantly packed as well as getting a table is not.

easy, yet most definitely worth the delay.

Minneapolis Minnesota.

Pop, rock as well as indie songs acts carry out, but it is not just emerging.

musicians as also bands with huge followings will certainly play two evenings at.

First Opportunity versus than one night at a bigger location. Significant abilities that.

have actually enhanced the stage consist of the Indigo Girls, Tina Turner, The Black.

Looked At Peas, Low-cost Technique, Phish, as well as much more. A picture with the wall surface of.

celebrities in the history is a must-do memento of Minneapolis.

. Children and also kids-at-heart will like checking out these leading 10 kid-approved.

quits in the Double Cities. From epic dinosaurs and also interior.

water parks to roller rollercoasters and four-story interior backyard, there's.

no shortage of family fun.

Including an encyclopedic collection of over 80,000 objects, spanning.

5,000 years of globe background, the MIA is residence to among the finest.

considerable art collections in the nation, containing impressive.

exhibits as well as collections of art from Africa, Oceania as well as the.

Americas, along with a large collection of Asian art and also sculpture.

Charming weekend escapes near me, springtime break, positions to live: Orange.

Region Beaches, New Zealand Beaches, Fairbanks, Aberdeen, Divine superintendence,.

Lake George, Leesburg, Niagara Falls, Richmond, Virginia Shopping, Ann.

Arbor, Sausalito, Morrison, Puerto Rico Beaches, Athens GA, Portugal.

Coastlines, Zagreb Hotels.

23 Best Things To Do In Minneapolis, Minnesota.

Found on the west bank of the Mississippi River, next to Gold Medal.

Park as well as the Mill City Museum in midtown Minneapolis, the Guthrie.

Cinema has actually won countless honors for its layout by Jean Nouvel and.

attracts site visitors from all over the world to appreciate its architecture.

The cinema houses 3 movie theaters with a trademark ‘‘ thrust' stage, as well as a.

78-foot cantilevered bridge called the "Unlimited Bridge.".

History Of Minneapolis.

The piano on the baggage case degree in Terminal 1 is not simply for show.

Anybody is welcomed to play it; you might even be delighted by a.

expert musician or wonder child while awaiting your baggage.

Need to know the very best areas in Minnesota? Exactly how about pointers on exactly how to make.

the many of your time in a details city? Our Minnesota professionals can.

address your questions, use guidance, or plan the excellent Minnesota trip.

for you. Free of cost.

MSP has an official 1.4-mile walking course in Terminal 1, funded by.

the American Heart Organization. It's a healthy and balanced method to pass the time on a.

layover or to walk off several of that premium flight terminal fare.

Things To Do In Minneapolis.

Whatever about Manny's is impressive, from large items of.

meat offered with a collection of sides, to must-try decadent desserts.

The restaurant flaunts a 300-bottle a glass of wine list, as well as comprehensive.

get checklist. If you are looking for unique date evening suggestions in.

Minneapolis, this dining establishment is an excellent selection.

10 Factors To Explore Msp Flight Terminal.

The Walker rests opposite the Minneapolis Sculpture Garden, a sculpture.

park on the north side of the Pedestrian Campus and also is partnership in between.

the Walker and also the Minneapolis Park as well as Recreation Board. Housed in an.

architecturally stunning building, the museum is a must-visit.

Minneapolis' origins were as a mill town, first processing lumber, and also.

after that ending up being the biggest flour-producing city in the nation in the late.

19th as well as very early 20th centuries. Today the flour mills stand idle, have.

been torn down, or converted to stylish lofts, but you can see a peek of.

that time at the Mill City Gallery on the bank of the Mississippi in.

downtown Minneapolis.

2 aviation-inspired play locations (one in each terminal) will certainly maintain the.

kids occupied while you await your trip, as will the.

tasty deals with at Rocky Mountain Delicious Chocolate Manufacturing Facility. There's also.

exclusive as well as luxurious nursing areas for households taking a trip with infants or.

moms who require a silent location to pump, situated in both terminals.

The home for the Minnesota Doubles is at Target Area in the western side.

of midtown Minneapolis. The stadium is an al fresco ballpark and. received praise from ballplayers and spectators for the seating, views,.

environment, and giving ins choices. Going to a video game is an excellent method.

to spend a balmy summertime night in the city prior to getting a drink or.

bite after the 9th inning in neighboring midtown Minneapolis.

Romantic hotels, canine pleasant cabin, store inn, B&B, hostel, pictures,.

maps, discounts, conference, couples pull away, tourist: Things to do in.

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on a Day, Miami seafood, Miami resorts, Best time to check out Miami,.

Angling in Miami, Free Points to Do in Miami, Miami Nightclubs, Points.

to Do in Minneapolis, Free Points to Do in Minneapolis.

When you have authorized up, you obtain a crucial or passcode, which you after that.

insert into the called for port at one of the lots of bike stations across.

the city, get the environment-friendly light as well as take your bike. You will certainly be offered a.

certain quantity of time to use the bike, according to your pass or.

subscription, after which time the bike requires to be returned to any type of.

terminal. Once the bike is locked right into the station, your key or pass is.

gotten rid of, as well as you are good to go. Quick, simple and inexpensive, it's the.

perfect way to discover the city at your very own speed.

Weekend break vacations, leading 10 things to do, locations to visit near me: South.

Padre Island, Lexington,, Erwin, Floyd, Essex, Biloxi, Erie,.

Restaurants in Lancaster, Restaurants in Lake Tahoe, Realm, Eastham,.

Escanaba.

Rest in prior to your return trip as well as stay on-site at.

the InterContinental Hotel. The 12-story resort features a medspa, 2.

trademark dining establishments, a penthouse mixed drink bar and a cutting edge.

gym.

Points To Do In Minneapolis.

112 Eatery is a well-known midtown restaurant that supplies a laid-back.

ambiance, excellent solution, as well as extraordinary cuisine. Acclaimed cook.

Isaac Becker has actually produced this cozy area where the wood floorings as well as.

subjected block walls resemble a comfortable apartment or condo instead of a.

narrow restaurant, making it the optimal go-to area for a decadent dinner.

or late-night bite.

Situated within the Shopping Center of America, the Nickelodeon Cosmos is the.

worlds largest indoor enjoyment park. The grounds have even more than 50.

trips, appropriate for young as well as older children—— from knotting coasters, like.

Shredder's Mutant Masher, to even more mellow standards, like an antique horse.

carousel.

. Pop right into locally started Aveda to example some items, get a pre-flight.

modification at The Chiroport, or kick back and delight in a costs footwear shine.

You can also obtain a complete mani/pedi, hair designing as well as facial treatments at.

XpresSpa; no appointment required.

Going back to the 1870s, the mill complicated is listed on the National.

Historic District, playing an important role in the conservation and also.

education of the state's heritage.

Diving certified divers can take on the waters as well as dive with sharks, while.

various other visitors can join feeding times with stingrays,.

seahorses, as well as rainbow coral reef fish. The fish tank offers a variety of fun.

sea-based activities and journeys for all, consisting of stamp terminals.

youtube

with dive books for children, behind-the-scenes excursions and also over night.

remains.

Romantic areas near me this weekend, all comprehensive, live music, unique.

shopping in the area, nightlife for visitors: Whistler, Shanghai, South.

America Cruises, New Zealand Cruises, Ireland Cruises, Winnipeg,.

Beijing, Paris resorts, charming Niagara Falls, Things to Do in Ghent,.

Brussels, Nepal, Ideal European trip, Arizona Day Trips, Cincinnati,.

Ideal location to stay in Grand Teton, Adelaide.

Famous Individuals From Minneapolis.

Established in 1963, the Guthrie Movie theater is a facility for theater.

performance, manufacturing, education and learning and also expert training with the.

goal of exposing and attaching target markets to classic literature as well as brand-new.

works from varied societies around the globe.

10 Factors To Explore Msp Airport Terminal.

Minnesota's prospering local food scene greets site visitors as quickly as they.

touch down at MSP, where a number of Minneapolis-St. Paul's ideal chefs and also.

restaurateurs have opened up store. Please your internal food lover with.

alternatives like coal-fired pizza at Outcast, fresh sushi at PinKU,.

regional craft beer from Rock Arch or a Tattersall craft alcoholic drink from the.

Mixed Drink Area at 18th & & Central.

Relaxing on the financial institutions of the historical Mississippi Riverfront as well as constructed.

right into the ruins of what was when the world's largest flour mill, called.

the Washburn "" A"" Mill, Mill City Gallery is a little, intimate gallery that.

presents birth and also growth of Minneapolis and the succeeding history of.

the growing city with the flour sector as well as the river.

For foodies (and those with food allergies) Bryant Lake Bowl uses.

locally sourced grub and a gluten-free menu. Trying to find an activity.

prior to playing a game? The affixed movie theater to Bryant Lake additionally hosts.

every little thing from plays, local artists, and even a regular worship.

Minneapolis-st. Paul Location.

First Opportunity is a veritable symbol of Minneapolis. When the midtown.

Minneapolis Greyhound bus depot, the structure was renovated in 1970 right into.

an online music location by tearing everything out, adding a phase, an audio.

system, as well as painting the entire place black. The place has genuine.

music cred— — Royal prince carried out below in the early days of his career.

Points To Do In Minneapolis.

The Twin Cities' credibility as a center for arts is shown throughout.

MSP. Numerous mosaics embellish both routs, the flight terminal hosts an.

yearly worker art program as well as competition, and a trio of Snoopy sculptures makes.

for an enjoyable scavenger quest.

Sitting and also delighting in an elegant cocktail is excellent—— discovering exactly how to make that.

expensive mixed drink in the house is also much better. The specialists behind bench at the.

Norseman Distillery reveal their secrets of the profession during classes at.

their Cocktail Laboratory every month. The sessions feature hands-on.

instructions, recipe cards, as well as 3 tastings.

The fish tank flaunts a 1,500 gallon Pacific Northwest Rockpool where.

visitors can explore uncommon sea animals such as cucumbers and sea.

polyps by touch, in addition to a 300-foot glass undersea passage for.

unforgettable sights of sharks.

Minneapolis Minnesota.

Originally run by General Mills, the mill exploded and ignited.

numerous times throughout its working life. Once abandoned, a nearly.

catastrophic fire destroyed a lot of the mill. The Minnesota Historic.

Center lastly organized the remains, which were maintained and also a.

gallery was developed inside the ruins. The museum is just one of the finest locations.

to discover the background of Minneapolis.

Annual Events In Minneapolis.

From hip children to wealthy experts, the trendy stores in Uptown.

Minneapolis organizes the facilities they like to regular. Trendy bars,.

restaurants, and also stylish shops are collected around the intersection of.

Hennepin Opportunity as well as Lake Road, the heart of Uptown Minneapolis. If.

people-watching is the goal, grab a seat at one of the local coffee.

stores and also take pleasure in the parade of fashionistas going by. The area is a.

number of blocks from Lake Calhoun, where the gorgeous people most likely to.

sunbathe in the summer, as well as run or rollerblade around the lake.

Attractions & & Activities.

Weekend trips, what is an excellent field trip destination: Things to Do in.

Mauritius, Ukraine, Hong Kong, Myrtle Coastline Day Trips, NY with Children,.

Nevada with Kids, Oklahoma with Kids, Day Trips from Omaha, Marquett,.

Greenbelt, Grantsville, Malvern, Hot Springs, Middletown.

Famous People From Minneapolis.

The Minneapolis Institute of Arts is the significant art gallery in.

Minneapolis, with pieces spanning numerous millennia from throughout the.

globe. Functions from antiquity through modern-day art fill this substantial area,.

where it's simple to get shed for a whole day. The gallery has a range.

of unique programs, ranging from drawing courses for children to a.

weekly mixed drink and also art night each Thursday.

St Paul Minnesota.

Izzy's Gelato is a gelato establishment, with shops in Minneapolis.

as well as St. Paul. Owned and also taken care of by Lara as well as Jeff Sommers, what started as.

a little kitchen offering hand-made

0 notes

pianolocal · 4 years

Link

Looking for a piano store in Richmond that also provides moving services? You’re lucky because Piano Local is a company you can count on. As one of the finest piano store Richmond has, we pride ourselves on our expertise and are considerably experienced in providing instrument relocation services in Virginia, Maryland, and Washington DC. No matter the size of your piano, we can safely and efficiently move pianos to any destination.

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0 notes

famouspeoplefromminneapolisyfiq7 · 4 years

Text

The Most Innovative Things Happening With History of Minneapolis

Minneapolis Minnesota

Outdoor tourist attractions in Minnesota include Minnehaha Falls, a lovely

eco-friendly space situated in the heart of Minneapolis. The falls are just one of

the primary Minnesota attractions when visiting the Twin Cities. The

stretching residential property affords site visitors outstanding mountain cycling tests,

hiking routes, outing locations and also lots of various other tasks.

Concerning Minneapolis

Revealed brick, hardwood floors, gas fire place, 3 panel doors, all-natural

woodwork, wonderful kitchen area granite counter tops as well as stainless-steel

appliances, in an open format with a center island, top degree washing,

a new high performance furnace simply set up.

Famous People From Minneapolis

Every big city needs a place where residents as well as site visitors can relax

and take a break away from the hectic speed of the city. Lake Calhoun in

Minneapolis is just the area to go when you want to unwind. Rent

paddle watercrafts, swim, canoe, fish or simply sit by the shores and also enjoy some

wonderful people-watching!

The residence itself has actually been lovingly taken care of by the current ownersand

flaunts a functional layout with lots of all-natural light, huge open

principle cooking area with stainless-steel devices, breakfast buffet, & & a. excellent space with a wood-burning fire place.

Lakes and reservoirs: Birch Pond (A), Powderhorn Lake (B), Lake Nokomis.

( C), Mommy Lake (D), Lake of the Isles (E), Lake Hiawatha (F), Lake.

Harriet (G), Diamond Lake (H). Display/hide their locations on the map.

If you stay in Midtown, getting around in winter is never a trouble.

many thanks to the skyway system. Connecting on the 2nd floorings of all.

major midtown workplace and apartment, the skyway system is an.

cutting-edge hallway network permitting you to stroll for miles without ever.

going outside.

Minneapolis, Mn.

The arts scene in Minneapolis is top-notch and also extensive. One of the.

city's specialties is that it has even more theater seats per head than.

any kind of city exterior of New York, as well as the carrying out arts neighborhood in.

particular is as energetic and also diverse as they come. Famous places like.

the Guthrie Cinema and also the First Opportunity Bar are only the idea of.

the iceberg when it involves live songs, and the city's colossal network.

of museums (including sites like the Pedestrian Art Facility and also.

Minneapolis Institute of Art) is among the most effective in the United States.

This Minnesota destinations among one of the most enjoyable leading instructional.

facilities to go to in the state. With exhibits such as The World of.

Sharks in 3D, and several multimedias presents covering topics like biology.

and also anthropology, the Scientific research Gallery of Minnesota is a fascinating place.

to see.

Visitor tourist attractions: Bill & & Bonnie Daniels Firefighters Hall & & Museum

.( 664 22nd Method Northeast) (1 ), Golden Wings Museum (8891 Airport Terminal Road.

Northeast Collection 6C) (2 ), Minneapolis Institute of Arts (Galleries; 2400.

3rd Method South) (3 ), Holy Land Exhibit (Galleries; 434 Ridgewood Method).

( 4 ), Hennepin History Museum (2303 third Opportunity South) (5 ), Facility for.

Early Discovering & & Living of the Sciences (Museums; 4139 Regent Method.

North) (6 ), Aminah Hair Sytlist (Museums; 7500 69th Opportunity North) (7 ),.

Fridley Historic Society Museum (611 Mississippi Street Northeast).

( 8 ), American Wings Air Museum (2141 Rhode Island Opportunity) (9 ).

Display/hide their approximate locations on the map.

Points To Do In Minneapolis.

Take a look at the Budweiser Roofing system Deck prior to heading back down to the.

playing field. The trip will certainly take you through the history of the Twins.

group, highlighting previous as well as existing players, exceptional display screens of.

baseball souvenirs, as well as special ecological attributes of the playing.

area.

The exhibition intends to create critical assuming skills with forensic.

examination, scientific questions, and innovation, by supplying a.

multi-sensory experience where visitors can delve into the world of.

criminal offense scene examination.

St Paul Minnesota.

Matching the home-away-from-home ambience is a menu filled with.

sublime mixtures from mouthwatering lamb scottadito to pillowy.

pan-fried gnocchi surrounded in crunchy Parmigiano Reggiano. Open up until 1.

a.m. on weekend breaks, the place is constantly packed as well as obtaining a table is not.

easy, however certainly worth the delay.

Minneapolis Minnesota.

Pop, rock as well as indie music acts do, however it is not just arising.

musicians as even bands with huge followings will play two evenings at.

First Opportunity versus than one night at a larger place. Significant abilities that.

have graced the phase consist of the Indigo Girls, Tina Turner, The Black.

Eyed Peas, Low-cost Technique, Phish, and also a lot more. A picture with the wall of.

celebrities in the history is a must-do memento of Minneapolis.

. Youngsters as well as kids-at-heart will love checking out these top 10 kid-approved.

stops in the Twin Cities. From larger-than-life dinosaurs and interior.

theme park to roller coasters as well as four-story interior backyard, there's.

no scarcity of household fun.

Featuring an universal collection of over 80,000 things, spanning.

5,000 years of globe history, the MIA is home to one of the finest.

considerable art collections in the nation, containing remarkable.

events and collections of art from Africa, Oceania and also the.

Americas, along with a substantial collection of Oriental art as well as sculpture.

Enchanting weekend escapes near me, springtime break, places to live: Orange.

County Beaches, New Zealand Beaches, Fairbanks, Aberdeen, Divine superintendence,.

Lake George, Leesburg, Niagara Falls, Richmond, Virginia Purchasing, Ann.

Arbor, Sausalito, Morrison, Puerto Rico Beaches, Athens GA, Portugal.

Beaches, Zagreb Hotels.

23 Best Points To Do In Minneapolis, Minnesota.

Situated on the west financial institution of the Mississippi River, beside Gold Medal.

Park and also the Mill City Museum in downtown Minneapolis, the Guthrie.

Cinema has won various honors for its style by Jean Nouvel and.

draws in site visitors from around the world to appreciate its style.

The movie theater houses three cinemas with a signature ‘‘ thrust' phase, and also a.

78-foot cantilevered bridge called the "Countless Bridge.".

Background Of Minneapolis.

The piano on the baggage claim level in Terminal 1 is not simply for program.

Any person is welcomed to play it; you may even be captivated by a.

expert artist or gifted child while waiting for your baggage.

Want to understand the very best areas in Minnesota? Exactly how around pointers on exactly how to make.

one of the most of your time in a particular city? Our Minnesota specialists can.

address your questions, use suggestions, or plan the excellent Minnesota journey.

for you. Completely free.

MSP has a main 1.4-mile walking course in Terminal 1, sponsored by.

the American Heart Association. It's a healthy and balanced means to pass the time on a.

stopover or to walk off a few of that premium flight terminal price.

Things To Do In Minneapolis.

Every little thing concerning Manny's is bigger than life, from extra-large pieces of.

meat served with a collection of sides, to must-try decadent treats.

The restaurant boasts a 300-bottle a glass of wine listing, in addition to extensive.

reserve list. If you are trying to find unique day night concepts in.

Minneapolis, this dining establishment is a good choice.

10 Factors To Explore Msp Flight Terminal.

The Walker rests opposite the Minneapolis Sculpture Yard, a sculpture.

park on the north side of the Pedestrian Campus as well as is collaboration between.

the Walker and the Minneapolis Park and also Entertainment Board. Housed in an.

architecturally spectacular structure, the museum is a must-visit.

Minneapolis' beginnings were as a mill community, very first processing wood, and.

then coming to be the biggest flour-producing city in the nation in the late.

19th as well as early 20th centuries. Today the flour mills stand still, have.

been razed, or converted to elegant lofts, yet you can see a glance of.

that time at the Mill City Gallery on the bank of the Mississippi in.

downtown Minneapolis.

2 aviation-inspired play locations (one in each terminal) will keep the.

kids occupied while you await your trip, as will the.

tasty treats at Rocky Mountain Delicious Chocolate Manufacturing Facility. There's also.

exclusive as well as deluxe nursing spaces for family members traveling with infants or.

mamas who need a quiet area to pump, situated in both terminals.

The house for the Minnesota Doubles is at Target Area in the western side.

of midtown Minneapolis. The stadium is an outdoor ball park and. received appreciation from ballplayers and also viewers for the seating, sights,.

atmosphere, and also giving ins alternatives. Participating in a video game is a perfect way.

to spend a balmy summer season evening in the city prior to grabbing a drink or.

attack after the nine inning in close-by downtown Minneapolis.

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leo5365362 · 4 years

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MARCH NOTES FROM CAROL March 2020 blew in with a whirlwind of anticipation. I performed at The Tin Pan March 5 in Richmond, Virginia with the best Band imaginable, which included Joseph Patrick Moore, Dan Baraszu, Jay Williams, and Art Sherrod. We absolutely killed it on the Stage. Unfortunately it was clouded with the oncoming storm of Coronavirus COVID-19. It was the beginning of the storm overtaking the US and we were very concerned on our travel through the airports. But we had no idea it would be our last show for a while to come. As March is coming to a close I have spent time picking up on projects that I have put on the backburner for a while. One of these is putting to Sheet Music my Piano Pieces for others to learn on the piano. I’ve been working on “Stronger Now” and “Sun’s Out” to start with. My goal is to have all my piano pieces available from my website so please check out my web store from time to time to keep up with the latest available. I have Performances lined up for the Summer and Fall and I am hopeful that I will be able to Perform at these and we will see a resurgence of Festivals and Live Concerts return in a new healthy environment for all of us. In the time I have had at home while sheltering in place I’ve spent some time in my Garden pulling weeds and tending to neglected plants. It’s been a time of self-examination and quiet introspection. I’ve explored some ideas for new music and had lots of melodies run through my mind. During this time I have also had great pleasure in seeing “Stronger Now” rise to #1 on MediaBase Smooth A/C, Top 20 on Billboard, Top 10 on Smooth Jazz Top 20, #1 Smoothjazz.com , #3 GrooveJazz Chart, #5 RadioWave Smooth JazzI now we will all emerge “Stronger “ and more resilient at the end of this. Check with your favorite Radio Station for “Stronger Now”. Stay tuned for more upcoming news… www.carolalbertmusic.com Love Carol https://www.instagram.com/p/B-ajTkTgTxY/?igshid=qnqazel5ahju

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toyahinterviews · 5 years

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TOYAH AND SIMON DARLOW ON THE SuperDeluxeEdition SOFA WITH PAUL SINCLAIR MARCH 2019

PAUL SINCLAIR: First of all thanks for coming. I guess the first place to start is you relationship and your collaboration because I know it goes back quite a long way, doesn't it? TOYAH: 42 years PAUL: OK, so how did you first get together and how did you start working together? SIMON: I had a manager at the time, which was the same as Toyah's. This is in the 70s it has to be said and he said "I'm managing this girl who's going to be huge, you should come along and meet her" so he put us together TOYAH: I went along to Richmond Road in Putney to this flat above a piano shop. We instantly got on. The thing about Simon - not only is he very talented, he's actually a really decent human being - SIMON: Ha ha TOYAH: And in the music business that can be quite an unusual experience. So we became friends, we wrote our first song together - SIMON: “Sky Lullaby” - TOYAH: Truly appalling - SIMON: It was rubbish, yeah - TOYAH: (laughs) But then time took us apart from each other and we got together again for "The Changeling" (Toyah in the studio during "The Changeling" sessions, below) We needed a keyboard player on "The Changeling", which was produced by Steve Lillywhite in '82 Simon walked in again and we've never been apart since because you were involved with "Love Is The Law" (1983) We've just been writing together – solidly – for about 35 years

SIMON: And it's always dead easy, just happens instantly. It's always just fun. The whole thing is kind of vaguely funny. We just walk in, sit down and do something

TOYAH: It's like a psychic connection and it always has been. Simon can just hit D on the keyboard and I'm singing away and then we've got the song. Sometimes it comes in two minutes, sometimes we allow it to take six months -

SIMON: And then we chip away at it -

TOYAH: How many years? (laughs) It's 35 years -

SIMON:

Quite a long time actually, yeah. We were both fairly busy doing other things, it has to be said but it was worth it. We just trust each other is the bottom line, I think

PAUL: Simon, are you a multi-intrumentalist?

SIMON: Yeah, I play keyboards, guitars, cello. A bit of drums although I'm not really a drummer but with modern technology you can get away with playing a bar and make it sound like you can play drums. It's quite OK. Anything that's plugged I can basically make a noise with

PAUL: And one of the things my audience will be very interested in – you worked with Trevor Horn, didn't you?

SIMON: I did. I was very fortunate. I met Trevor Horn when I was 18 in a keyboard store in Denmark Street and he'd just split up with Geoff Downes and The Buggles. He said "what keyboards to you use?" and I explained and he said "have you got any songs?"

I played him my little demo tape and his wife at the time, Jill Sinclair, who's sadly no longer with us, phoned and said we think you've got something and we'd like you to join The Buggles, briefly, which I did, for the 2nd album. They gave me a publishing deal with perfect songs and it just turned my life upside down, basically, in an instant

PAUL: And you ended up co-writing "Slave To The Rhythm", which obviously became that crazy album?

SIMON:

Yeah, that's right. Bruce Woolley and I wrote the original song, which was because Trevor phoned and said "we need a follow up to Frankie Goes To Hollywood to “Relax” ". So we wrote that and Holly (Johnson, the singer of Frankie Goes To Hollywood) came down and said he wanted to change the words but we didn't fancy it at the time (chuckles) So Bruce and I started to record it and then after that Trevor rang up and said "I want Grace to do it". Grace Jones seemed to fit as a concept ...

PAUL: Getting onto the album then. That title – obviously it's got the King Crimson reference but was that your idea?

SIMON: It was. I kind of said it as joke, really. I just thought it would be very funny and Robert thought so too so …

TOYAH: Well, it just massages his ego, doesn't it? (Simon laughs)

SIMON: It seems highly appropriate really. She is "The Queen"

TOYAH: I have nothing to say about it really. The title doesn't bother me. I'm an incredibly independent female and I'm incredibly feminist so it took a bit of wedging the door open to get that one through. But it's fine PAUL: And of course this album came out in 2008 originally? TOYAH: Yeah, the original format of the album. We've since remastered, added seven new songs PAUL: When you originally wrote those songs what was the inspiration? What was going on in your life, how did the album come about? Because it had been a while since you'd actually - TOYAH: No, it hadn't been a while. I have a band called The Humans in America with Bill Rieflin from R.E.M. I'd already started "We Are The Humans" and "Sugar Rush" with him. That's experimental music but Simon and I were always drawn to each other because we just have this of rock style. And we live so close to each other that it became ridiculous that we weren't writing all the time. We're literally 30 miles apart So it started with a song called "Latex Messiah" and that came really quickly. At that period I was touring a show called "Vampires Rock", which was about classic rock and me having to wear a lot of PVC and have vampire teeth. So it was ingrained that we should be using that kind of cultural reference of these rock backgrounds that we both have It came so easily. I remember taking "Latex Messiah" back home and Robert heard it and he said "that's the best song I've ever heard". And he became so passionate about the whole project - SIMON: He did, yeah - TOYAH: But after that the rest of the songs happened really quickly. We had a lot fun over one summer and they just kind of ... bang bang bang bang PAUL: There's quite a lot of variety. It's not all rock because you've got some acoustic ballads like "Heal Ourselves" etc. Was it important to have a bit of variety in terms of the songs? SIMON: I thought if you're going to do an album then try and make it into a shape rather than just a random collection of songs. We did think about the way the tempos went and what lead into the next. It became quite a story lyrically from your point of view and it told lots of aspects of your life. Which makes sense so it gave it a shape - TOYAH: We sit a room and we see what happens and the room never lets us down. So usually you go to the piano or to the guitar and I say keep that, keep that, move onto this, move onto this and we cut and paste biologically, organically within the room. Then I take the track away, do the first draft of the lyric, come back and sing it to Simon and then we chip away at it That whole thing about light and shade within the style of the songs . . . Once you've done a rock song you don't really want to backtrack and do another rock song. You want to push forward and try moving it into a different genre so that's how those different elements and those cultural influences keep coming back into the music SIMON: The albums we grew up listening to - there were many more journeys originally and the creativity of the 70s artists was just fantastic. You'd sit and listen to a whole album as opposed to listening to half a stream for 12 seconds on an iPhone. It was a very different world. I used to love lying on the floor and just listening to these little journeys and taking in the songs TOYAH: The 70s was just amazing! Lyrically I'm always trying to invert things as well. "Heal Ourselves" came at a time when there was so much hatred. With all the stories - we're always fed bad news the whole time. No one ever prints good news. It doesn't make money, it doesn't terrify people Then "Bad Man" came out of the extraordinary amount of men I know who were demonised by divorce. I thought well, these aren't bad men and they're being crippled through the divorce laws. When we wrote "Bad Man" both Simon and I agreed that we wanted to write something that gave the man the pedestal back A lot of the time when we're writing these things we're both in tears because we're quite passionate about the subject matter. But I'm always trying to invert the lyric and tip it

PAUL: How much do you think about commerciality and whether you might have a hit or radio play of a certain song? Is that in your mind at all when you're - TOYAH: Commerciality! I go to sleep with commerciality in my mind! But what does a hit mean? I think as long as you're creative that's all that matters SIMON: Trevor Horn taught me a lot. He was all about focus and getting things as clean and clear as possible. I like the idea that people would like it. You write because you want to write and stuff comes out but once it's out then I subscribe to the school of trying to make it as focused and accessible as possible. If that's commerciality I guess that's commerciality TOYAH: And also, it's my energy as well, isn't it? I'm not a ballad singer, I'm never ever going to be like Mariah Carey or Celine Dion. What I do is high energy rock. I think the commerciality sits very well within the persona of Toyah and that's what we end up with. We've never really tried to subdue that. There's no point trying to make me super mature SIMON: The clothes have to fit the artist (Toyah laughs) PAUL: When you first released the album did it get a full release or did it struggle to find an audience? TOYAH: (amused) What do you mean? I play to sellout audiences! My audience are a live audience. I do four shows a week right through the year. We've had pop-up record shops at every venue so I've been performing these songs since 2007. My audiences just lap them up but my audience is like a club. It's an exclusive club I'm not mainstream, I'm not accepted mainstream. I manage myself, I don't have a mainstream manager. I don't have a mainstream promoter. I do absolutely everything and I do non-stop sellout shows I actually think the ethos of my life is the perfection of punk because I've done it all on my own. It's back-breaking and the fans just keep coming, keep coming and keep coming. Last week I did Halifax. I didn't realise I was doing a student union venue. People were begging to get in! Just queues round the block. So these are the people who made the album possible This is why we got together and we were writing. Because the audiences are there and they're big and they're coming all the time. I'm just dealing with non-stop gig bookings. We would just love someone to scoop us up and say "right, Toyah, you can just get on and sing the songs, I'll do the business for you". So you ask what was the audience in 2007? Exactly the same audience as today. The people that are just outside the venue queuing to get in SIMON: I think what's different though is the moment because ten years ago to be an older artist you still couldn't get arrested (?) at radio but now it's a completely different story. I think Toyah as an independent woman really hits the zeitgeist now. There's people that are 60 and 50, whatever, (they) are still young and thinking "hang on a minute, I don't want to be old" and they still listen to the same music and that's just come out It's in everything, it's in the culture now. So I think timing wise it's a better time to be listened to. You've interviewed loads of bands. There's a moment and it's very interesting - TOYAH: I think age is concept. OK yeah, physically we get older but this whole concept of everything ebbing away it's just not real to us. I feel just as connected now as I did 40 years ago. There's so much to do and when I'm not doing this with Simon I'm co-producing movies, I have to write things for books all the time It's not slowing down at all. I think the whole message within this album is you are still you. You don't just fade away. I think that whole concept of just fading away isn't real any more

PAUL: Can you explain a little bit about the approach to the new edition. It's two CD's, there's some new tracks on there. You've gone back to every track on the album and you've done some work on it - SIMON: Yeah, essentially when we did the original album I programmed all the drums so we've got real drums on this, which made a huge difference. Clive Edwards, who's off UFO, played the drums. It's just given the whole thing an energy that it needed that we didn't have the first time around. Lot of the performances are still the same. We've added some keyboards and stuff that weren't there just to widen things out a bit What was quite amazing to me is when you put the real drums on and a real rhythm section on all those performances game up even more energetically than they did in the originals. The new songs are a collection of various things we've done in the last couple of years "Dance In The Hurricane", a track we really love is brand new this year. It all sounds fresh to me. In the intervening years I used to listen to it and think this album is still alive and we're just thrilled that we get an opportunity to put it out now TOYAH: Things like "Our Hearts Still Beat" – I was in a movie called "In Extremis" and they needed an outro song and "I said I can do it, I can do it!" Simon and I both recently lost our parents - well, you've still got your mum - SIMON: Yeah, she's still around - TOYAH: The whole premise of "In Extremis" is losing a child. We went to the studio . . . How many weeks did we spent crying? SIMON: It was pretty moving, actually - TOYAH: We could not get a vocal down because we sang it together . . . We were just sobbing for about four weeks - SIMON: Not because it was that bad you understand? (chuckles) TOYAH: No, it was just so raw. "Who Let The Beast Out" . . . I was involved with a musical in London with Scoop Theatre based on "Crime and Punishment" and they used 13 of our songs. They needed an extra song within a week's notice so "Who Let The Beast Out" was for that musical. Everything has come about through request . . . PAUL: "Dance In The Hurricane" leads the new version of the album. I was very interested in that track, because lyrically, Toyah, you pay tribute to your parents - TOYAH: That's another song that took a month to record because we're just crying all the way through it. In fact Simon, you kept the very first vocal when I burst into tears on “I held your little soul” . . . I couldn't do it without falling on the floor My relationship with my parents was not . . . normal. My mother was particularly brutal but I wanted to pay respect to her. That whole thing of her calling from the ether saying it's all going to be OK was really important to me but boy it was hard, wasn't it? (laughs) SIMON: Yeah. But these are very real things around this age, you start losing your folks. It's something your child self thinks is never going to happen. But it happens and it's moving - TOYAH: And they're still with you - SIMON: Yeah, they are - TOYAH: They're very much with you - SIMON: You hear them. You do hear their voices. Oh, must give dad a ring and you think oh, you can't actually . . .

PAUL: And lyrically it celebrates an idea of being an individual, be the person you want to be and don't let someone else write your rules. I don't get the sense of people wanting to be individuals any more. People want to be the same TOYAH: (sighs) We're in the world of impersonators. It's terrifying. Individuality is so important. If we don't have individuality we don't have culture to a certain extent. I think one of the most important messages in the album and in the song "Sensational" is that you have a right to be individual. You are beautiful no matter what age, what body shape, whether you are an ideal of beauty or the ideal of what the world calls ugly – you're still absolutely effing sensational! The whole idea of this album is we are unique! We are miraculous! We're floating on a rock in the middle of universe we don't know. We are utterly miraculous. And that individuality is so important in the album. Of giving of voice to those who feel they're voiceless and invisible PAUL: How hard was it work out a new running order because you've got these new songs (Simon and Toyah laugh) "Our Hearts Still Beat" is an obvious one to end with. It must've been tricky to slot everything in – SIMON: It was but once it was decided that "Hurricane" should be the thing that opens the first act of "In The Court Of The Crimson Queen" and it made sense. Keep the energy up but don't put all the slow ones at the end was what I had in my head so . . . TOYAH: It's also difficult because we've got a song called "Legacy", which we both really love and it's so un-Toyah. We wanted to place it further forward and we thought no, we can't do it - SIMON: But it's definitely an ending of a side - TOYAH: It's an phenomenal song! So we had a few problems like that . . . PAUL: Are you quite excited to be releasing it on vinyl, Toyah? TOYAH: Yeah. Very excited. I love the fact that we're doing vinyl. It's what I fell in love with music as a child but also the whole imagery. We've been working on really specific imagery that's tied together right through the whole of the project. So we're excited that people are going to get a piece of vinyl that is spectacularly good looking. So that's very exciting Vinyl sounds deeper, it's richer, it's got so much more to it. And knowing then that that the double CD is coming and that's going to be quite a fantasy journey. I think we've got a 23 page booklet in it so passionately involved with that. We're very happy SIMON: It's great PAUL: And the artwork has been updated, hasn't it? TOYAH: More than updated. It's completely new. We shot the video yesterday SIMON: Yeah, it's looking good TOYAH: And it's surprisingly beautiful coming from two old farts SIMON: Make-up took a long time though TOYAH: I think people are going to be pleasantly surprised PAUL: Will this be the last Toyah album because there's a lot of conversation about do albums even have a place in the world? Sheryl Crow came out recently and said she's probably not going to bother making another album because she can't find the people who've got the attention span to sit and listen to a whole album -

TOYAH: That's such an intelligent comment. Because she's right. We've tried taking on board younger people. Our attention span is really good and it's challenging. It's very challenging. I think it's cruel to give up on (albums) that people no longer have that . . . SIMON: I think these things are cyclical. I think we are dealing with a generation who are engorged with stuff so they stop thinking and there will be a reaction to that. There will be some sort of new punk Something will happen to them and some of them will wake up and say "I'm not having this any more. I want to do something, start making noise" or renouncing technology so I'm sure it will come back TOYAH: You ask if this is the last Toyah album? I think you and I will keep writing - SIMON: I'm sure, yeah TOYAH: We do an album because we want to do an album. Not because it's financially rewarding. It's an act of communicating with the world. It's something we feel driven to do. Will it be the last album? That I don't know. I think that's a really really poignant question. Thanks to technology there's an awful lot of stuff to do these days so are albums going to become something quaint and antiquated? Let's see PAUL: Did you consider doing a new album because you had four tracks. You were probably half way to creating a whole new record. Did you consider doing that at any point? TOYAH: The turning point was on my birthday last year. I was 60 on the May the 18th and the fans put a track called "Telepathic Lover" at number one in the Amazon download chart. We were contacted and told that could not have radio play without an album deal. We now have the album deal and we're giving it back to the fans and we're very happy to do that. We're already itching to write the next album - SIMON: Yeah, absolutely. But because these songs never got the exposure I felt they should've had those years ago, to actually have a chance to get them out there. They still sound so alive to me that it made sense to do that and add the bits that we got since. It can take rather a long time to make records (laughs) By the time you've got twelve or ten good new songs - TOYAH: I think it also takes a long time - SIMON: When you're 70 - TOYAH: When you're virtually the head of PRS (rights management for musical works) as well - SIMON: There are other distractions - TOYAH: There's huge distractions, yeah . . . PAUL: What are your plans for the next year? You've got the new record coming out, you're always touring. Are you doing anything special? TOYAH: Yeah, I've got two tours this year. The first tour kicks off in Scotland in April. I think we have almost 130 dates in this year so it's very busy. Then we round it off with the autumn dates at the end of October. And then I think there might be quite a big announcement for December but that's jumping the gun a bit PAUL: I'm fascinated by your career because you always have two things on the go. You've had he acting and the music. How has that worked for you? TOYAH: I have four movies about to be green-lit and if they all happen together I'm up shit creek. I'm also co-producing a movie about the albino community in Africa so that's taking up quite a lot of time connecting things together. It's going to be an interesting year PAUL: Where does all this energy come from because you always seem to be involved in so many things. What stops you from putting your feet up?

TOYAH: I'm not interested in putting my feet up. I love my work. I've always loved my work and I've been very much married to the work. I feel passionate as a woman. The kind of thing of saying "hello, I'm still here". I mean it's unbelievable working as a woman in this industry. It's still happily sexist and misogynist It's still going on. But it's what I do, it's what I've always intended to do. I am a performer and I love doing it. If I put my foot up I'd see that as not only as failure but as rejection as well. It's just not what I'm going to do PAUL: It's interesting you're saying about the industry. Film, music, TV and all the rest of it. Have they been any different in terms of how you're treated as a woman? TOYAH: Hugely different! I can give you two examples and they're both extreme. I was sent by my first agent, who was slightly dodgy, a male agent, to audition for Russ Meyer's "Vixens 2". I was 18 years old and had no idea that it was a soft porn movie. I turned up for the meeting and wondered why I was asked to take my top off. I walked out of that one So that was the beginning of my career and I stuck by those principles. I didn't sleep with directors, I didn't sleep on the casting couch. I just thought no! This is wrong. Within two years I was working with Katharine Hepburn. A Hollywood icon who loved me as a woman and I loved her as a woman. And no one had to do anything that we didn't want to do Then after that I ended up in "Quadrophenia". Let's just jump forward 40 years to today where actually I'm embraced by an industry that sees me as someone of quality, someone of talent and understands that I have a burning will to make films I love and to make music I love That is the difference 40 years makes. But it also really helps being older today. I actually think it's beneficial because no one treats you the way that an 18 year old girl was treated 40 years ago in auditions PAUL: I read a comment where you said you had a desire for fame, you wanted to be famous. What advice would you give to young women today? It isn't looked upon as a positive thing anymore, wanting fame for fame's sake - TOYAH: It's about celebrity now. I would say to young people be true to yourself because we all have something utterly unique in ourselves. Don't be an imitator or an impersonator. Find your uniqueness Also live a creative life and realise when you're picking that phone up and pouting at it and tweeting it . . . you're an imitator. We have to create a culture of the future and that can only be done by knowing who you are as an individual. Would you agree? SIMON: I think I would actually. It's all about having something to say. Not everybody has something to say and a lot of people are quite happy to just ago along with the ebb and flow of life. But the sort of false celebrity has created this state which is vacuous and it's meaningless and that's why so many people are freaking out online because they don't really have anything to say You see them on the tube, people pouting . . . I'm on the tube and you think God! With the eye brows and all that stuff . . . anyway. Don't get me started about that! But in real terms, you have to have something to say - TOYAH: When you look at the rise of bands like 1975. What they're doing is phenomenal. Their videos are staggering! And then you go back to the grunge period of the 90s . . . No one would dream of being vacuous! So I think the talent and the brilliance is out there and you just have to search for it. If you look at it through celebrity it's quite hard to find but there are astonishing things going on out there. The talent is there and it's not necessarily about commercialism PAUL: What do you think of the way the music industry is now because on the face of it there's more opportunity, it's easier to publish your own -

TOYAH: There's huge opportunity! PAUL: But on the other hand it's harder to make a career selling albums. Is that a bit depressing - TOYAH: No! This is what we've been doing for decades! SIMON: I think it's still evolving. Music industry is traditionally very slow to change. Streaming started and they tried to force you to buy CD's. If everyone just got with it everyone would still be paying four or five quid for CD and it would be economically impossible. It had to go through that whole period of change and streaming is just starting to pay - a bit. It's coming up, it's not all the way there but it's certainly up And again it just comes down to boredom. I think it will be possible to make albums because it will go back to wanting to be a part of something, to listen to a journey rather than just snippets. Hamburgers get boring after a while. It's a quick fix and as I said it's a cyclical thing. So I do think there's great hope for the music business. It just has to adapt and it's slowly starting to get it together But it has to realise the models have got to be different. You have to include the artist more. The artists can't just be employees which is what they were before. It's a different thing. People are more clued-up these days. They understand what they're doing so they don't want to give 90% of their royalties away. They'd like to keep a bit more, please. It's fair enough so everybody's got to find a new way of doing (it) . . . It's coming. There's some great independents TOYAH: And it's immense fun - SIMON: It is, yeah. It can be - TOYAH: I think you have to stay on top of the business side. I was saying to Simon driving here that I played Halifax the other day, which was a blinding gig, drove home, worked in the office til 7 in the morning, then drove to Heathrow It takes dedication and focus and as well as making the albums and selling the albums. You book the shows, you get the musicians to the shows, you feed the musicians, you get them hotels. It's an industry and it's not surface at all There's incredible depth to this industry. I have never learned so much as working with the really big stars from Katharine Hepburn to Laurence Olivier to Roger Daltrey . . . You see how hard they work and that's the level you don't see. So your social media is up there and then as you go lower down there's this incredible industry of dedication. And it's fun. It's absolutely precious and brilliant and that's why we do it PAUL: What ambitions do you have left, Toyah? I saw online that you're learning piano at the moment - TOYAH: I love it! In my rucksack down there is my music theory books (laughs) PAUL: Tell me why you've started doing that? TOYAH: I think I have to start of by saying that not only am I severely dyslexic but I'm dyspraxic, which means that as a musician I've never been able to separate my hands. Even getting a message to one hand has been quite remarkably difficult So I started my piano lessons this year because the one thing I left school with, 45 years ago, was music theory. I have astonishing memory. I'm almost savant with my memory. I can tell you what I wore on this day ten years ago I have that kind of memory but controlling everything is very difficult. I am now able to play piano, read the music, split my hands and it almost means more to me than all the hit singles! Because every day I sit down at the piano and play and that to me is my greatest achievement to date I know it sounds really stupid but I wasn't allowed to have piano lessons as a child. I believe that everyone in school should have piano lessons because there is just something about the way you place your thoughts that helps you deal with the every day PAUL: And just finally to finish off . . . You've got this great back catalogue of music. Do you plan to re-issue the old albums? Create box sets? TOYAH: Yeah, there's box sets planned for this year. I own half the catalogue now and Simon and I own our stuff so that makes it possible. I think for the early stuff . . . I haven't mentioned this to you but (jokingly) we're going to have to go to the studio and re-record the first four albums SIMON: OK, we can do that on Tuesday TOYAH: Which is not a bad thing. Yeah, we'll do it on Tuesday. But yes, there's a lot of plans. Because there's a huge audience out there that want our stuff. Right from 78' to today. I'm very very grateful for that and it makes our lives very fulfilled and fun Watch the interview HERE In The Court Of The Crimson Queen: SDE Official Toyah STREAM/BUY the album Apple Music Amazon Spotify BUY the CD Amazon

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Arplis - News: Minimalist Shed Door Hinges

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